When Alicia Tafur (b. 1934) returned to Colombia after spending a year and a half in Paris, she presented a solo exhibition of twelve wood and metal sculptures at the Luis Ángel Arango Library in Bogotá. By that time, she was an established artist with a successful career, notable highlights of which include her participation in the Pan-American Union in Washington, DC in 1958, an honorable mention at the XIII Salón de Artistas Colombianos [13th Colombian Artists Salon] (1961), and the second prize for sculpture at the XIV Salón de Artistas Colombianos (1962).
Amparo Hurtado’s article does not examine in any great depth the technical, aesthetic, and conceptual aspects of Alicia Tafur’s work. From the journalist’s brief references to the artist’s study of forms found in nature, we can deduce that the latter was part of the growing movement of painters and sculptors who were active in the 1950s. Those artists created experimental works that allowed them to interpret their surroundings and their personal cosmogonies through a distillation of the expressive forms and qualities of the materials they used. Tafur’s work, for example, included frequent references to local flora, birds, and marine life, and explored themes inspired by the cosmos and space.
A highlight of this article is the artist’s request for government support for artists through the creation of a Ministry of Culture linked to an effective stimulus program. This request provides insight into the opportunities for work available to Colombian artists in the 1960s. This article complements the review of the same exhibition: “No se debe esperar a que llegue la inspiración” [One Should Not Wait for Inspiration to Arrive] [see doc. # 1133397].